Vinnie Rossi L2i-SE ‘Signature Edition’ Integrated Amplifier

I spent a good portion of 2019 in the company of Vinnie Rossi’s superb L2 Signature Preamplifier ($16,995). My review was in three parts—the Line Stage proper, the added DAC module and finally the Phonostage module. The two modules ($3495/each) increased the price just shy of a not inconsiderable 24K. However, fewer large boxes clogging up your rack and a superior, lifetime component.

Jump to September 2019 and the introduction at Rocky Mountain Audio Fest of the new Vinnie Rossi L2i-SE ‘Signature Edition’ Integrated Amplifier ($18,995), the subject of this review. The ‘SE’ improves upon his L2i Integrated Amplifier ($13,995) by adding matched Elrog 300B DHT tubes and other changes. The DAC and Phono modules are available for both the standard L2i and SE versions. This review is of the L2i-SE without modules. My unit was in silver. Rossi builds every SE by hand. The fit & finish is exemplary, commensurate with such an expensive, boutique component. The unit comes with a 10 year warranty.

I asked Rossi a few questions regarding the SE’s upgrades.

Hi Anthony,

1) The L2i-SE uses an entirely different (the only one of its kind) directly-heated triode (DHT) preamplifier stage instead of the 6SN7-based preamplifier stage of the standard L2i.  

The L2i-SE also features a switch on the rear panel to allow the listener to use different families of 4-pin DHTs, such as 300B, 2A3, 45, PX4, 811, and a handful of others.  The dual mono power supply rails for the B+ and heating of the cathodes of these tubes also uses custom, patented Belleson super-regulator circuits.

In terms of sound, the DHTs are the finest sounding triodes and offer improved resolution, spaciousness, tonality, and realism.  

2) I find the Elrog 300Bs deliver stronger tonal density and a more effortless top-end compared to the stock EH300B tubes.

Best regards,

Vinnie

My Use

Rossi’s first review piece shipped UPS in a Pelican case. Nothing was going to harm that component. The SE arrived in a high quality, double cardboard box with precision-cut foam for the unit’s protection. Ship and receive the expensive component with confidence. It weighs in at a substantial 27kg.

The SE was ‘delivered’ via Canada Post. Postal workers don’t write the item name and/or shipper on the delivery notes for community mailboxes. Door delivery? Forget it. So, when my wife did a post office drive by to pick up the item (usually LPs or something small from Amazon) and discovered a 60 pound behemoth waiting for her, she muttered a few choice words. With the help of a kind gentleman in the parking lot, they wrestled the box into her Fiat 500 Cabriolet. And with a hand truck and elevator, we got it into our townhouse.

Unit setup is a breeze but best to have a friend with you for lifting to be safe. Rossi always sends me a very detailed email with a PDF manual attached and personal instructions. As such, it was up and running a few minutes after I inserted the two precious, gorgeous Elrog 300B tubes into the chassis. Rossi knows I don’t like mesh tube guards blocking the look of exquisite tubes so he didn’t bother sending his. The guards are said to eliminate the very small possibility of electrical hum. I never heard any deleterious tube sound. As quiet as a church mouse.

The SE has a precision CNC machined aluminum chassis which sits atop a very heavy, metal isolation base with Stillpoints ULTRA MINI feet as standard.

Matched Elrog 300Bs retail for $1500/pair.

The SE only had a few bench hours on it so I continued casual listening for a week. During break in, I never had to ride the volume control. In this Signature Edition 300B DHT version, Rossi tests for 100W RMS per channel into 8Ω (170W RMS per channel into 4Ω). Those numbers into the 8Ω Qln Prestige Three or 4Ω Alta Audio FRM-2 Celesta Loudspeakers presented no problems. I could crank up the volume to well above tasteful levels with absolutely no panic by the SE. A reminder—it is typical for 300B tubes to need a longer break in than other types; 200 hours usually suggested. I kept this in mind during the beginning phase of the review.

Functions on the faceplate are mirrored on the substantial aluminum remote control. Power, volume, source, balance, etc. Mute and module functions are on the remote, too. Lights/type on the faceplate/info screen indicate red. Want to go old school? Use the tactile knobs on the faceplate. The volume control knob is wonderfully springy, notched, and very precise (a discrete, 64-step resistor ladder volume control using Pickering England silent signal relays—approx. 1dB per step from -∞ to +8dB).

As you would imagine with Rossi’s design legacy and the unit’s cost, the SE is feature rich. Yet, no superfluous add ons as manufacturers attach in the name of value—everything Rossi places on/in his chassis has a targeted function in the service of great sound.

L2i-SE  Features (Linestage)

• latest Class-A, ultra wide bandwidth directly heated triode (DHT) preamplifier design, compatible with: 2A3, 45, 300B, PX4, 101D, 205D, and SV811 DHT families with one-switch filament voltage selection [a small but very important switch on the rear panel and clearly marked in the manual—ignore at your peril if switching tubes-Ed].

• Dual-mono layout using multiple patented Belleson super regulators for voltage regulation

• True active balanced (XLR) and single-ended (RCA) line level inputs and preamplifier outputs

• Internal “DHT bypass mode” switches (replaces DHT stage with a Class-A JFET stage)

• Yamamoto solid Teflon UX-4 tube sockets

L2i-SE Features (Power output stage)

• Wide-bandwidth, purist Class AB MOSFET topology (only one pair of output devices)

• True dual-mono power supply with custom-wound toroidal power supply transformers

• WBT NextGen 0703cu Speaker Binding Posts

• Speaker outputs can be switched on/off via the front panel

Specifications

Output Power: (Tested with 120Vac input)

Output Impedance: Approx. 0.1 ohm

Input Impedance: Approx. 10k ohm (RCA and XLR inputs)

Frequency Response: 0.5Hz – 150kHz (+/- 1dB)

Voltage Gain: 32dB (with stock EH300B tubes); 24dB (DHT Bypass Mode Enabled)

THD+N (with stock EH300B tubes): Less than 0.5%

THD+N (DHT Bypass Mode Enabled): Less than 0.01%

AC Input: Factory configured for 110-120Vac, or 220-240Vac (50/60Hz)

Protections: Fused inputs for linestage and power output stage sections
MOV (AC input surge protection) 
Output short circuit protection

Dimensions (with tube covers and isolation base installed): Approx. 17.25” wide x 14.5” deep x 8.88” tall (438m x 368mm x 226mm)

Volume Control: 64 steps (approx. 1dB per step) from -∞ to +8dB

Balance control:  24 steps from L to R (approx. 1db per step)

Stunning in silver, too.

Sound

I matched the SE with superb ancillaries including an Allnic Audio ZL-5000 Power Cable ($2000) & ZL-5000 Speaker Cables ($3800/pair—review forthcoming), an MBL N31 CD/DAC ($15,400) and my Bergmann Audio Magne Turntable ($13,500/with arm) through my reference Allnic Audio H-7000 LCR Phono Stage ($16,500). Cartridge duties included my reference Phasemation PP-2000 MC Phono Cartridge ($6000) and Miyajima’s Infinity Monaural Cartridge ($3375—review drops next month).

Rossi says:

The L2i-SE is our response to “what if?” What if we could combine our L2 Signature Preamplifier and L2 Signature Monoblocks into one chassis but with absolutely minimal concessions to design and performance? Could we still offer all the flexibility, build quality and stunning appearance to truly stand in a class of its own? The L2i-SE is Vinnie Rossi’s realization of that dream.

Unlike the L2 Integrated Amplifier (L2i), which runs a simpler 6SN7 linestage, the L2i-SE inherits from our L2 Signature Preamplifier the direct-heated big power triodes. Only one pair of the finest sounding 4-pin, directly heated triodes (DHT) are run in a dual-mono, class-A, grounded-grid topology with zero feedback. They feed a true dual-mono, high-bandwidth class-AB MOSFET output stage making the L2i-SE a DHT hybrid integrated amplifier and likely the only one of its kind in the world.

For sure, it’s an easy visual winner in all of Rossi’s categories. Just look at it. But the sound it produces is very special. And some of the most musically inviting, transparent, sweet and diaphanous sound I’ve had the pleasure of hearing in my music room.

The magic is mixed in Rossi’s conjuror’s hat. For sure, the very high quality Elrogs have a great deal to do with the sound—typical of superb 300Bs—but Rossi’s design prowess (ears/voicing) adds much to the general character.

Aficionados will testify just about any quality tube in a good preamplifier design will change and improve the sound over a similarly-priced solid state preamps. Okay, for the sake of peace, let’s say ‘different’. For me, I’ll ride and die with good tubes in the system. The Elrogs are certainly those. In fact, sublime compared to mere mortal tubes.

In my dreams, I have a tube expert in my music room to roll Takatsuki, Western Electric and Elrog 300Bs at my whim to see which comes out on top. Happily, even the most reasonably-priced 300Bs will offer improvement and attempt to replicate some or all of Rossi’s Elrog descriptors (more tonal density and a more effortless top-end compared to the stock EH300B tubes). In this installation, the Elrogs are Rolls Royce 300Bs on a McLaren chassis.

As such, they produce, in concert with the outstanding Class AB MOSFET, a coherence from a blend of topologies that only masterful designers can pull off (just think how many designers mixing and matching ribbon tweeters and dynamic woofers have failed, let alone electrostats with attached, boxed subwoofers). Effective integrateds are much desired by 2020 audiophiles, but their efficacy can be challenging. Happily, I can attest the L2i-SE is a masterpiece component.

At last year’s RMAF and Toronto, I heard many integrated amplifiers, some with MSRPs approaching $50,000. They looked incredible with hovering sycophants delivering superlatives and showing off the latest gleaming resin statuette from this or that outlet. Yet, most left me cold, at least under show conditions and playing digital. That’s why I kept returning to the Vinnie Rossi/WellPleased A/V room. A musical respite.

The sound I experienced in my listening room was much of the same as RMAF. Those folks loving their powerful monoblocks need not fear inhibited dynamics or power drain. For example, the finale of the Dorati/Mercury/LSO vinyl reissue The Firebird was massive, awe-inspiring. In fact, it was at that moment on Boxing Day when my twin brother, getting the royal demo treatment, said: ‘Anthony, I’ve never heard your system sound better’. He’s heard most of my systems in London, Montreal, Toronto, and Victoria over the past 40 years. Thus, they’ll be no compromises in sound, dynamics or power delivery with this one chassis solution.

The SE playing Cat Stevens’ Teaser and the Firecat deciphered the usual overdubbing but left his wonderfully expressive voice intact—complete timbral precision, no matter the layer. Same for instruments. Wolfgang Schulz’ glorious flute floated exactly as Strauss would have wanted in the tranquil opening sequence of Tod und Verklärung (Vienna Phil/Reiner/Shaded Dog reissue). The protagonist’s last breaths mixed with dreams of love as represented by very high flute over diaphanous strings (and harps) is a real test. I used this track when reviewing the L2 Signature Preamplifier. It sounded very beautiful. But, the Elrogs produced exactly what Rossi suggested—’tonal density’. The vaunted 300B sweetness was heard in spades, but there was an underlying solidity with perfect instrument placement in the musical picture. And Strauss’ very advanced harmonies had the aural sophistication audiophiles desire. Thus, nothing earthbound will distract you from the music—driver tubes, coupling caps or output transformers. The L2i-SE is a beautiful conduit to true artistry.

Bass fans have nothing to worry about. In fact, all octaves meld seamlessly, from deep, characterful bass (bass with personality—not just slam) to inviting midrange to very sweet highs. Rossi’s design gives the listener everything they could desire in quality playback.

Musically, you’ll want for nothing.

Conclusion

And so you should expect for $18,995.

Pair the L2i-SE with good cables and your favorite quality loudspeaker and you’ll be set for the final path of your audiophile journey. No compromises, no buyer’s remorse. Musically, it’ll keep you guessing every time a new recording comes your way. In four months as the mover & shaker in my system, it astounded me daily with its musical ability. By its nature, the SE will give you a lifetime of musical pleasure. Very highly recommended.

Further information: Vinnie Rossi